It
should come as no surprise that under-recognized post-punk band Crash Course in
Science met while attending art school in Philadelphia in 1979. Band members
Dale Feliciello, Mallory Yago, and Michael Zodorozny experimented with the
then-burgeoning musical genre by replacing the jangular and distorted guitars,
rhythmic drums, and synthesizer beats with childhood toys and common kitchen
appliances. Their choice of instruments was born out of curiosity as much as
necessity: How could they create the music they wanted with their limited
student resources?

Thankfully,
their choices resulted in a sound uniquely their own: peculiarly original
minimalism vocals mixed with danceable and downright catchy beats. Coupled with
a need to express and explore their interest in performance art and music,
their final product in such songs as “Cakes in the Home,” and “Cardboard Lamb” resonated
for years after. The band is frequently regarded as an influential force in the
electro sound and the techno industrial genres.

I
recently spoke with Zodorozny about their initial interest in performance art
and how it influenced everything from their live shows to the creation of their
Frankenstein-like instruments.

You've been classified as
a post-punk band. Would you consider that to be an accurate term for your sound
and aesthetics?

Crash
Course in Science was formed in 1979 so we would consider being referred to as
post-punk band accurate. We were
inspired by punk-rock music and we we’re all big fans of the genre. We were
also inspired by the work of Brian Eno prior to the punk explosion. As artists and songwriters, Crash Course
in Science became a format for our expression.

Can you tell me a little
more about the performance art aspect tied to the band? What was/is your
history with performance art?